JimF-LowBari Posted October 17, 2012 Share Posted October 17, 2012 (edited) As background, got the idea while blabbing in the thread about DCA protecting itself from preditors. All I know about the DCA policy to protect itself from copyright infringement suits is: 1) Before I walked away from corps in the early 1990s, I don't think there was one. 2) When I came back in 2003 or so, there was one. Outside of reading the Mini corps rules, I have no idea what the policy is, how it is implemented nor how/why DCA decided to implement one. Without going into that other threads area I'd like to learn more..... Edited October 17, 2012 by JimF-LowBari Quote Link to comment Share on other sites More sharing options...
kenweaver Posted October 17, 2012 Share Posted October 17, 2012 I think that the corps and the arrangers are responsible for getting permission and providing proof of it, if requested. Quote Link to comment Share on other sites More sharing options...
JimF-LowBari Posted October 17, 2012 Author Share Posted October 17, 2012 (edited) I think that the corps and the arrangers are responsible for getting permission and providing proof of it, if requested. My understanding too Ken, my question is along the line of "What is proof in DCAs eyes?". Edited October 17, 2012 by JimF-LowBari Quote Link to comment Share on other sites More sharing options...
friceox Posted October 17, 2012 Share Posted October 17, 2012 My understanding too Ken, my question is along the line of "What is proof in DCAs eyes?". You should be able to get a letter from the original composer/artist/etc that states it. WGI actually offers pre-made forms to send to music labels. Just dig around on their site for them. Quote Link to comment Share on other sites More sharing options...
JimF-LowBari Posted October 17, 2012 Author Share Posted October 17, 2012 You should be able to get a letter from the original composer/artist/etc that states it. WGI actually offers pre-made forms to send to music labels. Just dig around on their site for them. Guess I'm not that clear today... Asking if DCA wants a copy of those letters/forms for "proof" or something else? Along with how did DCA decide this should be done. Quote Link to comment Share on other sites More sharing options...
bill Posted October 17, 2012 Share Posted October 17, 2012 My understanding too Ken, my question is along the line of "What is proof in DCAs eyes?". You get permission to arrange and perform directly from the publishing house who holds the rights to any particular tune in most cases. The paperwork is then submitted by each organization to BOA, WGI, DCI, DCA, etc. Sync rights and arrange/perform rights are two different areas; typically the various associations take care of the sync rights. ....and all that info and 47 cents still only gets one a senior cup of coffee at McDonald's. Quote Link to comment Share on other sites More sharing options...
BigW Posted October 18, 2012 Share Posted October 18, 2012 The rights/permission costs can also vary, Jim. Most will discount it in this activity because you're usually using "excerpts of the work" for "educational purposes" When you seek permission, etc. you should state that. Certain composers will even forego the fees if used for "educational purposes"-- Don Ellis comes to mind. I have guesses there are others. On the other end of the scale, there are guys like Philip Sparke, who have lawyers out there looking very hard for any copyright violations. A band director told me basically you can pay him the three grand in fees for the season or get hit for the 5 grand fine and deal with the ensuing s***storm with the district. I don't think it's a stretch to claim the educational purposes thing- DCA is about lifelong education for participants and the fans as well as the entertainment. The whole intellectual property issue's been pretty much a result of the music industry's losing the massive amounts of income it used rake in before the internet and all the illegal downloading, etc. Everyone's trying to make a buck somehow in any and every way they can. It was WAY easy to make money BITD, and it all dried up. Read this article by U2's manager. It's very enlightening, I learned much from it on the subject..... http://www.gq-magazine.co.uk/entertainment/articles/2010-08/13/gq-music-paul-mcguinness-on-music-piracy Quote Link to comment Share on other sites More sharing options...
Kamarag Posted October 18, 2012 Share Posted October 18, 2012 Read this article by U2's manager. It's very enlightening, I learned much from it on the subject..... http://www.gq-magazine.co.uk/entertainment/articles/2010-08/13/gq-music-paul-mcguinness-on-music-piracy You learned one side's view of the issue. The actual truth, however, is a bit more interesting. Of course, music piracy and rights usage aren't the same thing, but it's a interesting conversation nonetheless. Quote Link to comment Share on other sites More sharing options...
JimF-LowBari Posted October 18, 2012 Author Share Posted October 18, 2012 (edited) Ahhhh.... yeah..... (fans of "Office Space" might catch that). Not really looking for how the corps get the rights. Would like to know how the corps prove to DCA that the rights have been obtained. Think of the discussion on "that other thread" about corps being responsible for checking staff, etc with DCA having no apparent oversight. Here DCA has oversight as the corps have to prove to DCA that the rights have been obtained. Thinking of a parallel here with not all the dots connected so far.... IOW: corps responsibility - copyrights (Yes), staff checks (yes) show proof to DCA - copyrights (Yes), staff checks (No) Trying to learn more about copyright side proofs for DCA to try to figure out why this can't be a model (gotta be a better word) for checks. Edited October 18, 2012 by JimF-LowBari Quote Link to comment Share on other sites More sharing options...
Kamarag Posted October 18, 2012 Share Posted October 18, 2012 (edited) Ahhhh.... yeah..... (fans of "Office Space" might catch that). Not really looking for how the corps get the rights. Would like to know how the corps prove to DCA that the rights have been obtained. Think of the discussion on "that other thread" about corps being responsible for checking staff, etc with DCA having no apparent oversight. Here DCA has oversight as the corps have to prove to DCA that the rights have been obtained. Thinking of a parallel here with not all the dots connected so far.... Bands and corps that receive the proper copyright clearances have paperwork documentation from the publisher/artist/copyright holder. Generally, they will either make a copy for the circuit or carry it with them at shows. I would imagine DCA requires documentation on every piece that is in a corps' program. Edited October 18, 2012 by Kamarag Quote Link to comment Share on other sites More sharing options...
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